Pascal Müller, Stefan Arisona, Simon Schubiger, Matthias Specht, since 2001

Corebounce is a collective of artists and scientists with the common goal of mediating between arts, science, and technology. We maintain a number of new media projects and our own multimedia software research platform, Soundium. We are organised as a non-profit association and collaborate with a number of partners from education, in particular with ETH Zürich, and industry.

We regularly tour as the Scheinwerfer Live Visuals Collective, where we create the visual experience at various electronic music events since 2001. Our live-composited and sound-driven visuals are designed to emphasise the theme of the event as well as taking into account the architectural framework. Not coincidentally, we have been labelled as “Club Scientists”: As stated above, our performances are deeply influenced by the momentary state of the Soundium research software platform. At the same time research is typically induced by specfic artistic performance goals.

Scheinwerfer has performed at some of the coolest locations around the globe, supporting world-class DJs and musicians like Jeff Mills, Rush, Miss Kittin, Dave Clarke, Josh Wink, Mouse on Marks, Jimi Tenor and many more.

Steve Gibson and Stefan Arisona, since 2011

Virtual VJ takes the concept of Virtual DJ one step further and unites the role of the DJ and VJ into one interface: 3D space. The concept of Virtual VJ is to allow two or more users to control different aspects of the sound and video environment with their movements. One tracker is set to trigger sound and video and the other is set to manipulate the sound and video initiated by the first tracker. The focus of the media integration is on the development of observable connections between the audio and video mediums in order to assist the users with ease of interaction.

The key conceptual idea that is explored in Virtual VJ is the idea of cooperation and the sense of personal space in ephemeral, virtual systems. This is achieved by programming the trackers so that dramatic events happen when the two trackers are close together or far apart. For example the environment has been programmed so that the trackers apply distortion to the audio when they are proximate to each other. At the same time video effects are added when the same proximity of the two trackers is observed.

This can result in a game of cat and mouse where the users determine whether they will chose to closely follow the movements of the other participant or decide whether they wish to pursue a more individual experience. Audience members are allowed to interact in whatever manner they chose, but at the same time noticeable results will be produced as they inhabit similar spaces, encouraging them to cooperate with each in order to produce dramatic audio-visual results.

Documentation and videos at the VirtualVJ site: https://www.telebody.ws/VirtualDJ/virtualvj/virtualvj.html

3D tracking, sound, and programming: Steve Gibson
Visuals and programming: Stefan Arisona

History

• November 2011 - Duncan of Jordanstone College of Art & Design, Dundee, Scotland. Invited Exhibition
• August 2011 - Jade Valley Winery, Xi’an, China. Invited Exhibition
• July 2011 - The Interactive Experience, HCI 2011, Culture Lab, Newcastle University. Refereed exhibition
• May 2011 - Culture Lab CHI party, Intersections Digital Studio, Emily Carr University of Art and Design, Vancouver. Refereed exhibition

Edited by Randy Adams, Steve Gibson, Stefan Arisona, 2008

This volume collects selected papers from the past two instances of Digital Art Weeks (Zurich, Switzerland) and Interactive Futures (Victoria, BC, Canada), two parallel festivals of digital media art. The work represented in Transdisciplinary Digital Art is a confirmation of the vitality and breadth of the digital arts. Collecting essays that broadly encompass the digital arts, Transdisciplinary Digital Art gives a clear overview of the on-going strength of scientific, philosophical, aesthetic and artistic research that makes digital art perhaps the defining medium of the 21st Century.

Contents

1. Introduction: Why Tansdisciplinary Digital Art? - Steve Gibson

I Philosophies of the Digital

2. The Ethics of Aesthetics - Don Ritter

3. Ethical and Activist Considerations of the Technological Artwork - David Cecchetto

4. DIY: The Militant Embrace of Technology - Marcin Ramocki

5. Tuning in Rorschach Maps - Will Pappenheimer

6. Body Degree Zero: Anatomy of an Interactive Performance - Alan Dunning, Paul Woodrow

7. Artificial, Natural, Historical - Acoustic Ambiguities in Documentary Film - Julian Rohrhuber

8. The Colour of Time (God is a lobster and other forbidden bodies) - Johnny Golding

9. Behind the Screen: Installations from the Interactive Future - Ted Hiebert

II Digital Literacies

10. Transliteracy and New Media - Sue Thomas

11. Digital Archiving and “The New Screen” - John F. Barber

12. Digital Fiction: From the Page to the Screen - Kate Pullinger

13. The Present [Future] of Electronic Literature - Dene Grigar

14. Transient Passages: The Work of Peter Horvath - Celina Jeffery

III Multimedia Composition and Performance

15. Visceral Mobile Music Systems - Atau Tanaka

16. Designing a System for Supporting the Process of Making a Video Sequence - Shigeki Amitani, Ernest Edmonds

17. Video Game Audio Prototyping with Half-Life 2 - Leonard J. Paul

18. Computer-assisted Content Editing Techniques for Live Multimedia Performance - Stefan Arisona, Pascal Müller, Simon Schubiger-Banz, Matthias Specht

19. Computational Audiovisual Composition Using Lua - Wesley Smith, Graham Wakefield

20. Interrelation: Sound-Transformation and Re-Mixing in Real-Time - Hannes Raffaseder, Martin Parker

21. Functors for Music: The Rubato Composer System - Guerino Mazzola, Gerard Milmeister, Karim Morsy, Florian Thalmann

22. Inventing Malleable Scores: From Paper to Screen Based Scores - Arthur Clay

23. Glimmer: Creating New Connections - Jason Freeman

24. Variations on Variations - Daniel Peter Biro

IV Interfaces and Expression

25. Gestures, Interfaces and Other Secrets of the Stage - Eva Sjuve

26. Beyond the Threshold: The Dynamic Interface as Permeable Technology - Carolyn Guertin

27. CoPuppet: Collaborative Interaction in Virtual Puppetry - Paolo Bottoni, Stefano Faralli, Anna Labella, Alessio Malizia, Mario Pierro, Semi Ryu

28. Experiments in Digital Puppetry: Video Hybrids in Apples Quartz Composer - Ian Grant

29. Formalized and Non-Formalized Expression in Musical Interfaces - Cornelius Poepel

V Digital Space: Design, Movement, and Robotics

30. Interactive Spaces - Jeffrey Huang, Muriel Waldvogel

31. From Electric Devices to Electronic Behaviour - Stijn Ossevoort

32. Scentsory Design: Scent Whisper and Fashion Fluidics - Jennifer Tillotson

33. Advances in Expressive Animation in the Interactive Performance of a Butoh Dance - Jürg Gutknecht, Irena Kulka, Paul Lucowicz, Tom Stricker

34. Anthropocentrism and the Staging of Robots - Louis-Philippe Demers, Jana Horakova

VI Digital Performance in Urban Spaces

35. Imaging Place: Globalization and Immersive Media - John Craig Freeman

36. About… Software, Surveillance, Scariness, Subjectivity (and SVEN) - Amy Alexander

37. The NOVA Display System - Simon Schubiger-Banz, Martina Eberle

38. Four Wheel Drift - Petra Watson, Julie Andreyev

Publication Information

Collection: Digital Art Weeks and Interactive Futures 2006/2007, Zürich, Switzerland and Victoria, BC, Canada, Selected Papers
Publisher: Springer, Berlin Heidelberg
Series: Communications in Computer and Information Science , Vol. 7
Editors: Adams, Randy; Gibson, Steve; Arisona, Stefan (Eds.)
Year: 2008
ISBN: 978-3-540-79485-1
Link: https://www.springerlink.com/content/978-3-540-79485-1

I am co-founder and scientific director of ETH Zurich’s Digital Art Weeks. The Digital Art Weeks, an annually recurring festival, are concerned with the application of digital technology in the arts. Consisting of a symposium, workshops and performances, the program offers insight into current research and innovations in art and technology as well as illustrating resulting synergies in a series of performances, making artists aware of impulses in technology and scientists aware of the possibilities of the application of technology in the arts. In 2008 and 2010, a very successful version of Digital Art Weeks took place in Shanghai and Xi’an, China, and currently DAW'13 (early 2013) in Singapore is preparation…

https://www.digitalartweeks.ethz.ch/

One of my personal highlights of the series of past Digital Art Weeks was the special opening day and the keynote of Joseph Weizenbaum (1923-2008) in 2007, as I have always admired his ambivalent position towards computer and information technology. At DAW07, we also screened the documentary ‘Weizenbaum. Rebel at Work.’ by Peter Haas and Silvia Holzinger.

https://www.youtube.com/watch?v=5_LCLjqCTXs

Festival History

• 2013 - Singapore
• 2011 - Victoria, BC, Canada
• 2010 - Xi’an, China
• 2008 - Shanghai, China
• 2007 - Zurich, Switzerland
• 2006 - Zurich, Switzerland
• 2005 - Zurich, Switzerland

Permanent Exhibition Ars Electronica Center, 2009 - 2012

Procedural City is an interactive media installation which has incorporated the generative modeling features of CityEngine along with a biometric fingerprint scanner. It enables the user to create his/her own personal city according to their fingerprint.

To interact with this installation the user scans his fingertip and subsequently the data is imported into CityEngine for processing. The fingerprint is analyzed to the point where CityEngine can generate street networks according to the pattern of the strongest lines. Once the streets are generated the buildings are ready to be modeled and this happens right in front of the users eyes. Finally a simple touch interface with navigation controls (actually an iPod) allows the user to explore the personalized city from all angles and perspectives.

The installation has been developed by Procedural Inc in collaboration with the Ars Electronica Futurelab, and is part of the GeoCity exhibition at the Ars Electronica Center (AEC) in Linz, Austria.

https://youtu.be/w8Gx0fxGH68

For more information on the foundation technology used, refer to the CityEngine page or to Esri’s CityEngine home page: https://www.esri.com/software/cityengine

https://www.youtube.com/watch?v=AMmsQ3KbQLI

Permanent Exhibition: Ars Electronica Center, Linz, Austria (16.6.2009 - 1.4.2012).
Additional exhibitions: Xi’an Academy of Fine Arts, Xi’an, China (July 02 – 16 2010). Maison D’Ailleurs, Yverdon-les-Bains, Switzerland (March 11 - December 09 2012), supported by the Game Culture Initiative of Pro Helvetia / Swiss Arts Council. Seoul National University Museum of Arts (October 10 - December 20 2014).
Concept, programming and realisation: Simon Schubiger and Stefan Arisona of Procedural Inc, AEC edition in collaboration with the AEC Futurelab.